Discussed by cook pam and bernink 141 during this

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discussed by Cook, Pam and Bernink (141) during this movement movie stars were also vital to what genre a film could be place into, as they were seen as mutually reinforcing. An example of a genre actor would be Gene Kelly, who starred in many musicals throughout the 1940s such as ‘Anchors Aweigh’. The actors helped audiences quickly discover which type of genre a film would be. The whole process of making film in the studio era were large factors involved in creating genre, however the distribution and promotion of films handled by these studios also played a role. As suggested by Cook, Pam and Bernink (141) studios would use the distribution and promotion of their films as a way to market towards a specific group of audience through the use of their actors and other genre related assets, this would let audiences know what type of film they were in for as actors generally did not go between genres, which can also be argued for some actors today such as Will Ferrel in comedy films. This type of marketing creates generic expectations for an audience and the connection between audience and genre will be further explored later. Through the history of the Hollywood studio era we are able to see where genre originated from, yet many would argue that genre mainly lies within the text of a film. The leading area in which genre is found is in the text of a film and when looking towards at genre in text there are two categories in which genre in text can be split in
two: semantic and syntactic. As mentioned by Grant (56) the semantic approach of genre involves characters, settings, objects, costumes and the like; Grant (56) further describes the syntactic approach of genre looks at the relationships between these semantic elements, such as conflicts between characters. Altman (10) simplifies the description of semantic and syntactic elements of genre by stating, “the semantic approach thus stresses the genre's building blocks, while the syntactic view privileges the structures into which they are arranged”. The semantic and syntactic elements discussed work together to create a genre’s syntax. Since every genre has a specific syntax, texts that wish to belong to a genre usually stick to the syntax that historically compliments the genre. If we were to look at the 1995 teen film ‘Clueless’ , the obvious semantic elements are the location as a high school and characters, which

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